The Great War And The Moving Image

The Great War and the Moving Image focuses upon the Allied war effort on the Western Front and in the Mediterranean. In doing so, the book addresses topics ranging from how carefully selected images projected a positive portrayal of ambulance trains, through film’s instructional role promoting self-sufficiency on the home front, to the vital role of makeshift YMCA cinemas both sides of the Channel. With editors and contributors who are authorities on cinema in wartime Britain and on the British response to the challenge of ‘total war’, the volume highlights the power that the moving image had during the Great War. In the introduction, the editors consider why the First World War can be seen as the first uniquely cinematic conflict. Later, historians from Britain, Australia, and America go on to explore film’s pioneering role as a powerful vehicle for propaganda at home and abroad, and its contribution to maintaining morale among soldiers on the front line as well as across civilian audiences back home.

This book provides the first sustained study of women's literary representations of death and the culture of war commemoration that underlies British and American literary modernism.

A history of American cameramen covering the news of World War I, from the dangerous front line and the risk of execution to red tape and censorship. At the start of hostilities in World War I, when the United States was still neutral, American newsreel companies and newspapers sent a new kind of journalist, the film correspondent, to Europe to record the Great War. These pioneering cameramen, accustomed to carrying the Kodaks and Graflexes of still photography, had to lug cumbersome equipment into the trenches. Facing dangerous conditions on the front, they also risked summary execution as supposed spies while navigating military red tape, censorship, and the business interests of the film and newspaper companies they represented. Based on extensive research in European and American archives, American Cinematographers in the Great War, 1914–1918 follows the adventures of these cameramen as they managed to document and film the atrocities around them in spite of enormous difficulties. “The first book to explore the work and working conditions of American cinematographers active on the different fronts of the First World War. It is a pioneering study which has already attracted a good deal of attention in the academic and archive world.” —Historical Journal of Film, Radio and Television

The Routledge Companion to History and the Moving Image takes an interdisciplinary approach to understanding history in moving images. It engages this popular and dynamic field that has evolved rapidly from film and television to digital streaming into the age of user-created content. The volume addresses moving image history through a theoretical lens; modes and genres; representation, race, and identity; and evolving forms and formats. It brings together a range of scholars from across the globe who specialize in film and media studies, cultural studies, history, philosophy of history, and education. Together, the chapters provide a necessary contemporary analysis that covers new developments and questions that arise from the shift to digital screen culture. The book examines technological and ethical concerns stemming from today’s media landscape, but it also considers the artificial construction of the boundaries between professional expertise and amateur production. Each contributor’s unique approach highlights the necessity of engaging with moving images for the academic discipline of history. The collection, written for a global audience, offers accessible discussions of historiography and a compelling resource for advanced undergraduates and postgraduates in history, film and media studies, and communications. Both Chapter 17 and the Afterword of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

The twenty-seven original contributions to this volume investigate the ways in which the First World War has been commemorated and represented internationally in prose fiction, drama, film, docudrama and comics from the 1960s until the present. The volume thus provides a comprehensive survey of the cultural memory of the war as reflected in various media across national cultures, addressing the complex connections between the cultural post-memory of the war and its mediation. In four sections, the essays investigate (1) the cultural legacy of the Great War (including its mythology and iconography); (2) the implications of different forms and media for representing the war; (3) ‘national’ memories, foregrounding the differences in post-memory representations and interpretations of the Great War, and (4) representations of the Great War within larger temporal or spatial frameworks, focusing specifically on the ideological dimensions of its ‘remembrance’ in historical, socio-political, gender-oriented, and post-colonial contexts.

This text provides a comparative analysis of how the war has been remembered in film. It looks at how national cinemas were mobilised as part of the war effort and how, subsequently, film makers shaped the memory and legacy of the war in later years.

Libraries, archives, and museums hold a wide variety of moving images. all of which require the same level of attention to issues of organization and access as their print counterparts. Consequently, the people who create collection level records and metadata for these resources need to be equally conversant in the principles of cataloging. Martha Yee covers both descriptive (AACR2R, AMIM, and FIAF rules) and subject cataloging (with a focus on LCSH). In the process, the reader is encouraged to think critically and to be prepared to make decisions in ambiguous situations where solutions to problems are not always obvious or clearly dictated by specific rules.

The first reference to literary and cultural representations of war in 20th-century English & US literature and film.Covering the two World Wars, the Spanish Civil War, the Cold War, the Vietnam War, the Troubles in Northern Ireland and the War on Terror, this Companion reveals the influence of modern wars on the imagination.These newly researched and innovative essays connect ’high’ literary studies to the engagement of film and theatre with warfare, extensively covers the literary and cultural evaluation of the technologies of war and open the literary field to genre fiction.Divided into 5 sections: 20th-Century Wars and Their Literatures; Bodies, Behaviours, Cultures; The Cultural Impact of the Technologies of Modern War; The Spaces of Modern War & Genres of War Culture.Key Features: * All-new original essays commissioned from major critics and cultural historians.* Reflects the way war studies are currently being taught and researched: in the volume’s approach, structure and breadth of coverage.* For scholars: core arguments and detailed research topics.* For students: Historically grounded topic- and genre-based essays, useful forstudying the modern period and war modules.